Episode Transcript
[00:00:00] Speaker A: Foreign.
[00:00:05] Speaker B: This is our musical reaction breakdown and commentary analysis of this song. Under Fair use, we intend no copyright infringement and this is not a replacement for listening to the artist's music.
The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright Act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news, reporting, teaching, scholarship and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now onto the Rock Roulette Podcast.
[00:01:03] Speaker A: Foreign.
[00:01:14] Speaker C: Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1, 500 albums, stuck them in a list, stuck them in a wheel, and typically every other week we spin the wheel. She picks a record for us and we go through it track by track. We talk about the music, the lyrics, the production, the melody and the arrangement and we give it scores. Again, just a bunch of friends who wanted to do a podcast that love music and as always, anybody who's listening, we really want to thank you. Spread the word and talk to us. Tell us what you like, what you don't like, things you want us to change, add, cut, whatever it is, we'll listen. Well, you know we're here for you guys. We really appreciate it. We never thought we'd get any listeners in the beginning. Whoever you are, thank you so much and spread the word. Tonight we are a duo. Unfortunately, Frank couldn't make it. We have Mark. Oh, hi Mark.
[00:01:57] Speaker B: What's up guys?
[00:01:58] Speaker C: I'm Sev. Ciao Buena, Sierra. Frank gets to miss the second part of the debut album by Black and Blue, which is matching up with the Firm in terms of some low scores to their credit. I think we all did mention that musicianship is not bad. We think that they're all pretty good at their instruments. Tommy Thayer and his solo sections have been a standout. The drumming has been solid, the bass playing has been very good. I think a lot of it lies in the actual songwriting and maybe some of the melodies. That's kind, kind of what's detracting from, I think this being a better record. Production isn't great either. We did say about other stuff that came out in 84, including love at First Thing by the same producer, which definitely sounds better than this. Scorpions at that point were kind of starting to hit their big high, so obviously I think that contributed to that. So Mark, as a kiss and Tommy Thayer, person. And by person, I mean not a lover. What are you thinking? So far?
[00:02:54] Speaker B: He's been fine. Here. The songs are just not great. I always bitch about late 80s hair metal. Well, here you go. Here's an instance of me, mid-80s hair metal that I don't particularly like. It's not great. Songs are not great. Melody is not great. I think everybody in the hair metal genre generally played the instruments pretty good. You know, there's obviously some exceptions. I just don't think this is a great album. I'm surprised they got three more.
[00:03:14] Speaker C: Back to back to back to back. And I mean, the next one was produced by Bruce Fairburn. We assume the sound is better. We don't know how involved he was in that. And then the last two are both produced by Gene Simmons and peaked at it. And his name appears with songwriting credits. I'm sure that they're on the list, and if not, I'm sure Mark will add them to the list. Who knows? Maybe we'll check them out. If some of the. I'm always curious. I think when you really like something, you want to hear what the rest of it sounds like. When you don't really like something, you're curious to see if it's better. Hopefully they'll pop up before we get to the second side. Obviously, we have our new bets where we get to check out something new. So, Mark, whenever you're ready.
[00:03:49] Speaker B: In a world.
[00:03:52] Speaker C: Where new music is not easy to find.
[00:04:03] Speaker A: Welcome to new beds.
[00:04:13] Speaker B: Okay. Do you see the wheel?
[00:04:14] Speaker C: I see it.
[00:04:15] Speaker B: Cool. All right, here we go.
[00:04:29] Speaker C: Bones in the museum. Lunatic lover. No idea.
I got to tell you, I think I find the small wheel sometimes more interesting than the big one.
[00:04:39] Speaker B: It's just because we don't really know what this is about.
[00:04:42] Speaker C: Yeah, a lot of stuff.
[00:04:43] Speaker B: Yeah. New stuff. So we don't know. So here we go. This is. What is it again?
[00:04:47] Speaker C: Bones in the museum.
Lunatic lover.
[00:04:50] Speaker B: All right, here we go.
[00:05:18] Speaker A: I see the days dwindling by dancing the green inside my eye Originality slips through my hand A masterpiece that is sprawled in the sand Palm trees sweat in my absent mind As I stroll Struggle for the next line A grand idea in theory and such but stranded here it doesn't mean that much and I never felt so bright Underneath all this moonlight where you can illuminate Every little mistake I make and I'll throw it all in the flame if you just forget my name Made it by this cold but still don't act like you care I see the nights reflecting agony Distorting traces of each memory My tortured vision blurs in the mist Love made without even a kiss A storm swirls more fountains of death As I strive to make another mess It's a nice thought to pass the time but abandoned here is just another lie and I never felt so bright Underneath all this moonlight where you can illuminate every little mistake I make and I'll throw it all in the flame if you just forget my name maybe mine is cold and stale don't act like you care where you can illuminate every little mistake I make and I'll throw it all in the flame if you'll just forget my name Cremated by this combat stare don't act like you and I never felt so bright Underneath all this moonlight where you can illuminate every little mistake I make and I'll throw it all in the flame if you just forget my name don't act like you care.
[00:09:34] Speaker C: I will say that I really like the music. Reminded me of a lot of stuff that I would listen to, kind of like in the 90s. But that voice, it sounded as if it was being manipulated to sound so off key. Because there were times when he was really hitting the notes. Well, that made it a little bit difficult. I don't know if it's something where I can go back and listen to it and adapt to hearing it. I'm not sure. But I did like the music.
[00:10:01] Speaker B: I don't hate the music. I say I hate autotune, but in this case you needed some auto tune, dude.
[00:10:06] Speaker C: But it was weird. It's almost like I felt like it was auto tuned to be off key.
[00:10:11] Speaker B: I don't think so.
[00:10:12] Speaker C: Yeah, I know. I'm just saying it sounded so odd.
[00:10:15] Speaker B: They're an independent band, which is cool. I'm glad we played an independent band. But if you're gonna release that and the music's not bad and the song is not bad, the vocals are just too out of tune. They're too out of tune. I know that's a thing. Some bands want to be out of tune like that. But you're not going to get anybody to listen to that. We'll listen to it because we like music and we're like, oh, okay, I can take some stuff out of there. And like, yeah, it's very alternative. It's very 90s sounding. I kind of like that part of it. As far as the vocals though, they gotta figure it out. They either have to change the key, tune down, do something. So the guy's on key, he can't be off key for the whole thing, you know, one scream being a little off key. That happened in the 90s, or even big bands a little bit. It's not totally on key, but it's not totally off key. But that's not what this is. If they made it sound like that, that was another bad move.
It makes it hard to listen to. And I'm not a shit on the song because that's just not right. Just not good in that part of it. I mean, I'm glad we got it. It's a cool song.
[00:11:07] Speaker C: Yeah. I'm curious to hear more from them, honestly, to see if it's. It's just the way it all sounds. But I. Yeah, I definitely like the music.
[00:11:14] Speaker B: Yeah, that part of it was good. But vocals stay some help. I thought it was a thing too, at the beginning. Maybe it's just a thing. I'm just like, no, that's not a thing. He just can't sing.
[00:11:22] Speaker C: But there was that. No, it's.
It was just weird.
[00:11:26] Speaker B: Yeah, it was weird. Anyway, if you like it, let us know. If you don't like it, let us know. We like to get independent stuff on here, too. It's kind of cool when that kind of stuff comes up. There we go. All right, let's rubber stamp this one.
[00:11:43] Speaker C: In a world where new music is not easy to find.
[00:11:56] Speaker A: Welcome to new bets.
[00:12:06] Speaker B: Okay, well, now, speaking of stuff we may not fucking like, here Comes Black and Blue Again. And I think this song is a cover, correct?
[00:12:15] Speaker C: It is a cover cover that's been covered many times. This could possibly be my favorite version, depending on how it goes.
[00:12:21] Speaker B: Okay, I don't remember if I've heard this before. This is from the Suite. This was released in 1975 originally and went to the top 40 in the U.S. the suite had a decent hit with it, I guess.
[00:12:31] Speaker C: Once you hear it, I think you'll know it. Steve Stevens did a very famous version with the Atomic Playboys. I think that was his band.
[00:12:37] Speaker B: Ok. I don't know if I heard that. Maybe I did hear it. I mean, it sounds familiar. The name, anyway. Here we go. This is Action.
[00:13:16] Speaker A: So you think you'll take another piece of me to satisfy your intellectual well being?
Do you want, do you want it? Show gonna bring you down. Cause you've been pushing me. You gotta recognize my subcarity.
Liar, liar, liar, liar.
You know, believe it. Higher, higher, higher, higher.
Cause I'm your main man and that's why Everybody wants a piece of the action.
Everybody needs a main attraction.
I got what everybody needs Satisfaction's guaranteed.
Everybody wants a piece.
[00:14:24] Speaker B: Do you remember it now, when the chorus came in? I remember it. So what do you think as far as this version compared to the Steve Stevens in the original?
[00:14:30] Speaker C: I'm not a massive fan of the song. I'm trying to think if this is worse than Motley Cruz Anarchy in the uk. I'd have to listen to them back and back, I think. I mean, that is really, really bad. I'm not a big fan of this song. I am a big fan of the original Anarchy in the UK and even Megadeth did it. I don't think their version was that great either. Maybe it's just one of those things, like if it's not the way it's done originally with the sound of it and who's doing it, this song kind of lends itself to this kind of style. But the production is really bad on this one. It's not just me. Right. Sounds weird.
[00:15:03] Speaker B: The production is not good on this whole album.
[00:15:05] Speaker C: Yeah, it hasn't been great.
[00:15:06] Speaker B: Do you want me to read through the lyrics or.
[00:15:09] Speaker C: We're not gonna want to. I mean, at least it's not theirs, right?
[00:15:12] Speaker B: Yes, this is true. Verse 1. So you think you'll take another piece of me to satisfy your intellectual needs? Do you want, do you want action? Gonna bring you down because you've been pushing me. You gotta recognize my superiority. Pre chorus Liar liar, liar, liar. You know you believe it higher, higher, higher, higher Because I'm your main man Chorus. And that's why everybody wants the piece of the action. Everybody needs a main attraction. I got what everybody needs Satisfaction is guaranteed. Everybody wants a piece of the action. I know where it's not bad. The chorus is decent, you know, Sweet.
[00:15:45] Speaker C: Had some good stuff. This, to me, wasn't necessarily one of them.
[00:15:49] Speaker B: I tend to think this maybe sounds more like the original version. I don't know. I haven't heard the original version, so I don't know.
[00:15:54] Speaker C: I think so. Because even the Steve Stevens version sounds like this. That 10, 10, 10, 10, 10 kind of thing.
[00:16:02] Speaker B: They're not taking a lot of liberty. I guess then they just kind of stick to what it is.
[00:16:06] Speaker C: I don't think so.
[00:16:07] Speaker B: The background vocals are okay. Some cool background vocals.
[00:16:09] Speaker C: He sings it oddly, too, almost with a little bit of kind of a British thing going, like intellectual.
[00:16:15] Speaker B: That's probably on purpose. He's trying to copy that, I'm sure.
And there's supposedly some kind of reverse vocal here.
This is a masked backward vocal with the words, you Kiss my arse.
So we'll see, I guess. I don't know if this is the original version. Maybe they're talking about and maybe not. Unless they copy that in here, too. So I guess we'll see.
Am I going to say this may be the best song on the album so far?
[00:16:40] Speaker C: Do you think so? No, I don't. I don't. I don't know.
[00:16:43] Speaker B: Definitely not the worst song on the album.
[00:16:44] Speaker C: I don't really remember much from the first side. No. But I do remember the one that we said was the best one is definitely better than this.
[00:16:51] Speaker B: Okay.
[00:16:52] Speaker C: Yeah. Maybe was like the third song on the first side, I think, from what I remember.
[00:16:55] Speaker B: Yeah. Auto Blast. That was the best one so far.
[00:16:57] Speaker C: Auto Blast. Yes.
[00:16:58] Speaker B: Okay, let's continue. Here we go.
[00:17:02] Speaker A: Oh, I was suicidal. Cause you was my idol. Baby, baby, baby, Bring it to your knees.
Oh, there was a time I would have walked the line. But you've let me try with your insatiable career.
Liar, liar, liar, liar.
You know you believe it. Higher, higher, higher, higher.
Cause I'm your main man that's why. Everybody wants a piece of.
Everybody needs a main attraction.
I know Everybody needs Satisfaction's guarantee.
Everybody wants a piece of the rapture.
Everybody wants a.
[00:18:14] Speaker C: It's funny, because one thing I do notice, his solo seem like they get cut off. There should be a little bit more going on. I mean, I know there was one on the first set where he didn't do anything, but even here it just feels like it could have been longer. And again, I don't have the song memorized enough how long it is. I'm assuming he kind of did his own thing. But one thing I do notice, and Frank would probably mention, I definitely hear, do you remember Rock and Roll is Going to Set the Night on Fire by Pretty Boy Floyd?
[00:18:39] Speaker B: Luckily, no, I do not.
[00:18:40] Speaker C: You definitely. That was a good song. I mean, I definitely hear the influence and people probably, duh.
But yeah, I. At one point, I actually found myself singing their words over part of the melody.
[00:18:52] Speaker B: His solo wasn't bad. Again, I gave him credit here. I'm not a fan of his in Kiss, but here the Ace Frehley style works. He's not copying Ace Frehley licks. No. For note, which again, listen, I kind of believe that anyone who is put in that situation and they told you that's what you need to do, you would have been done it. So I can't begrudge him for being that thing. But I also don't like it here. I'm okay with his playing. I think his playing is fine. Again, I think he's one of the better parts of this whole band.
[00:19:18] Speaker C: I think the production's really bad in this one. Especially on the drums. They sound so thin and odd. It's almost as if there's not a reverb. I'm trying to think of what effect sounds like. Almost as if they're reversed and cut kind of thing. It's weird. Just this weird sound. Then I don't think it was as bad on the first side.
[00:19:36] Speaker B: They use that reverse gated snare thing all the time back in the 80s. Maybe it's just more exaggerated of that. I don't know.
[00:19:42] Speaker C: Could be. But it sounds like the whole drums are like that. Just weird.
[00:19:46] Speaker B: Verse 2 oh, I was suicidal because you was my idol Baby, baby, baby bring it to your knees or there was a time I would have walked the line but you bled me dry with your insatiable greed Same pre chorus, same choruses. So it's not very much as far as words go. I mean, the second chorus is a little bit different, but I'm not going to really get into that. It's kind of the same kind of stuff.
Let's finish this up. Here we go.
[00:20:47] Speaker C: Think about this, how you can hear this band from the 70s, which was obviously glam rock. The influence on like the hair metal scene. You can hear this band in so many bands that we listen to, 100%. So there's a massive influence.
[00:21:03] Speaker B: Yeah, everyone takes from everybody else. You definitely hear the style in some of the glam metal bands from the time frame. Yeah, 100%. So this is 10 years later. I would assume that those people listened to those bands back then and then took some of that stuff and put it into the new stuff that they were doing in the 80s. I don't think we're gonna go through any rating on this kind of thing, so. Nah, it's a fine version. There's nothing wrong. I don't know the original that well, so I can't really tell you.
[00:21:26] Speaker C: I do think it got better as it went along. For what it's worth, I wasn't a massive fan of this one. It's a decent version. Yeah.
[00:21:32] Speaker B: The background vocals are good. Tommy Thayer was good. The drum sound a little weird. Production on this whole album is a little strange. Especially since the producer here did Scorpions. And you would think that the production would be different. Who knows? The next song is Show Me the Night.
[00:22:28] Speaker A: Back. Watch My Feelings I'll go up in Smoke all those Feelings are a joke they are a joke I don't need your emotion I don't need your respect and I don't envision you for one night There's a secret emotional. You need me to the text But I've got you locked in my sight show me the night make me see the light make you feel right show me the night show me the night with the light on my sight make it feel right show me the night.
[00:23:35] Speaker C: Not too bad so far. Possibly the second best song, I think. I don't know what's going on with the lyrics. I'm sure I'm gonna have fun once you read them out. The drums did a couple of weird things there that didn't sound right. That one kind of fill that. It seems like it was shoehorned in. It didn't sound like he was doing it in real time. Kind of weird.
[00:23:53] Speaker B: I was gonna say this is definitely the second best song. Tommy Thayer's guitar playing on this is great. He's doing a really good job again. Again, not a big fan in Kiss, but here, his influence from Ace. You can feel that in his playing. And it's good here. I like it.
[00:24:05] Speaker C: Let's say you came into this blind in that era. You didn't really hear this. How do you think Mark of that era listens to this thing at the guitar playing? What do you think he would say?
[00:24:15] Speaker B: I don't know. It would have been fine back then too. I don't think this is bad. I don't think that would have made a difference. I don't know who he is. I wouldn't know anything. I wouldn't have any kind of feelings. I don't have any feelings now about this. Even though I didn't like him in Kiss. It's not that I didn't like him. I didn't like the situation. So he was put in a situation that anyone would have taken. Probably you have to do what they said and they want him to play like Ace Fry. And that's what he did. Between that and the makeup to be Clusterfuck for me. But here I think this is more what he was doing. Obviously he wasn't trying to be an Ace really clone here, but you can hear the influence. I think it's good.
[00:24:45] Speaker C: Yeah, I definitely hear it.
[00:24:46] Speaker B: Listen, is he the greatest guitar player in the world? No, but there's nothing wrong with him. It's fine. He's better than some of the other stuff we've heard. So I think liked it. Verse 1. Take her heart and rip it from her body I don't even care Just toss my love into the air and I sit back, watch my feelings all go up in smoke all those feelings are a joke. They're a joke. Pre Chorus I don't need your devotion I don't need your respect I only abuse you for one night Is a secret emotion you lead me to detect When I've got you locked in my sights Chorus show me the night, make me see the light make you feel right show me the light show me the night in the light I'm out of sight make me feel right, show me the night. Some weird things in there.
[00:25:24] Speaker C: Yeah. Some of it sounds like abusive.
[00:25:27] Speaker B: I think they're using the abuse thing for sex. I think that's just what they're using the synonym for. I think that's what it is. I don't think it has anything to do with that. But I only abuse you for one night. He's not meaning like physical abuse that way. He's using it in the sexual thing, I think, which is what this is about. I mean, you know, the lyrics here are not going to be anything spectacular.
[00:25:46] Speaker C: I know. I don't think we've given the lyrics anything better than a 4 on this side album so far.
[00:25:50] Speaker B: I think this is the best song since the third song on the first side.
[00:25:53] Speaker C: Musically. Yeah, I would say.
[00:25:54] Speaker B: All right, here we go. Let's continue it out.
[00:25:59] Speaker A: We escape from the real world and I need to get away You've got nothing more to say Cuz I'll make you feel like you're living on your last breath and then you'll see the. For tonight you are for me, you are for me.
I don't need your devotion I don't need your respect I only beautiful one night.
Wow.
Show me the night make me see the light make you feel right show me the night, show me the night through the light on by the day.
[00:27:29] Speaker C: Good Solo, I think bass really, overall has been pretty good on this record. I think he's probably the strongest rhythm thing going. The drums are bad. Musician wise, not bad. I mean. Yeah, I could picture myself going back to this one. Overall, not too bad. So good. In your opinion?
[00:27:43] Speaker B: Yeah. Compared to the other songs in this album? Yeah, it's pretty decent. It's not going to save the album for me. No. I may not turn it off. It's okay. And Solo's good. He's doing a good job here. Again, I'm saying that I appreciate his guitar playing here. I think he's doing a lot of good in the melodic stuff, it's good.
[00:27:58] Speaker C: Do you like anything he did at all with Kiss?
[00:28:01] Speaker B: No.
No, I don't like anything he's done in Kiss. Not that he's a bad guitar player in Kiss. I just don't like anything he's done there. It wants too much to be Ace frail. It's too much. Between the songs that they made him do, wearing the makeup and then playing things that he might have quote, unquote played, big air quotes played. It's too much. If they would have let him go, I think a little more, it'd make me feel a little bit better. It would have been a little easier to swallow. I just. I didn't like what he did there. Verse 2. Every night we escape from the real world And I need to get away? You've got nothing more to say Because I'll make you feel like you've been living on your last breath and then you'll see that for tonight you are for me? You are for me. Yeah. Then half of the pre chorus and then back to the chorus. Pretty standard songwriting here. The song's decent. Maybe we get one good song on each side, which is, I guess, more than you can expect from lots of stuff.
[00:28:48] Speaker C: More than we got from the firm, I think.
[00:28:51] Speaker B: I hate to say that the firm was more. The expectation was so high that you expect. Expected better. Even if you would have gotten this from the firm, you would have been happy, I think. Not this exact song. Something that was, okay, I can handle this. This is good.
[00:29:03] Speaker C: I mean, like I said, I kind of buried my expectation after the first song. They're not going to give you Zeppelin Bad company. I mean, that's it. That's done. That's cool. This is not what they wanted to do again, just the songwriting wasn't there. Whoever wants to know our opinion on that, just listen to the episode, please.
That could be a controversial one.
[00:29:20] Speaker B: Yeah, seriously. All right, let's continue here. We.
[00:29:28] Speaker A: Make you feel right. Show me the night, show me the night Right out my sight make it feel like show me the night, show me the night show me the night.
I'm out of sight.
[00:30:02] Speaker C: Good ending. Definitely the second best song. Possibly the first. I'd have to listen to Auto Blast again to see how I would compare the two back to back.
[00:30:11] Speaker B: All right, why don't you go first then?
[00:30:13] Speaker C: I mean, the lyrics, whatever. Three on the lyrics. Are we going to grade this on a curve when it comes to making a playlist?
[00:30:18] Speaker B: We're going to have to.
[00:30:19] Speaker C: We have to, right? I'm not Going to give it sevens. I don't think it's that worthy. You know what? Let's fucking throw a bone. I'll say sixes on the rest. I was going to say four fives. The scores have been so low. And I think overall, this isn't a bad song. Like, this could be. Oh, if it came on Hair Nation, I remember this, this wasn't bad. I'll leave this on for a bit.
[00:30:37] Speaker B: That's the exact thing I was gonna do. Three on the lyrics and six on everything else. I think we have to throw them a bone here a little bit. This is one of the better songs. Doesn't hit gigantically like other albums do. It is, as far as ratings go, between me and you, the best song on the album right now.
[00:30:49] Speaker C: I could see that. I would go back to. Back to listen to the other one. I'm thinking I probably like this one better.
[00:30:55] Speaker B: I don't think you're going to like the next one better, though. Just look at the lyrics.
Boy, I think it's going to get less than a three. That's my opinion. This is one for the money.
[00:31:27] Speaker A: Well, I'm looking for a holiday we gonna have a good time Need a dirty little cherry bomb she's gonna blow my mind Ain't got a lot of patience Ain't got a lot to say I'm feeling like a shotgun Blow you away if she ain't looking for love anymore she better take me and when I put my life through the door she's gonna feel it One for the money One for the road, baby Just give it to me, honey Wide for the.
[00:32:26] Speaker C: Oh, come on. These are 10 the lyrics.
I feel the song started one way and then straight from that where the beginning before he started singing like, okay, this sounds cool as well. Run to me. Actually read a little bit. But then the melody went all over the place. I don't know if it's something I'll pick up again on the next go around. I was like, okay, cool. And then the singing and everything came in. I'm like, wait, this doesn't feel like it really fits with what the beginning was going. I don't. I don't know. Do you feel that or what are you thinking so far?
[00:32:56] Speaker B: I don't know if I feel that way. I thought the riff is very mid-80s metal. Double entendre he's using are just. It gives Gene Simmons a run for his money with the double entendre in this.
[00:33:06] Speaker C: Yeah, there's some stuff here I can't wait to hear.
[00:33:09] Speaker B: It, as far as a song goes, I think it's typical what was going on at that time from a lot of bands on the Sunset Strip. Kind of what they were trying to do. This is kind of what. What it is. There's nothing spectacular here. While I'm looking for a honey we're gonna have a good time Need a dirty little cherry bomb she's gonna blow my mind Ain't got a lot of patience Ain't got a lot to say I'm feeling like a shotgun Gonna blow you away if she ain't looking for love anymore she better take me and when I put my love through the door she's gonna feel it that's such a janky line. It's not even a good one. And then the chorus is, One for the money and one for the road Baby Just give it to me, honey well, one for the money. Everything that's been used. Shotgun through the door Blow you away it's so stock.
[00:33:52] Speaker C: But even the one for the Money, it doesn't even make sense.
No, listen, we listened to a lot of this stuff. And I don't think we necessarily listen to it for poetry and whatever. There were definitely bands that wrote the typical thing. Even a lot of bands with the One for the money kind of thing and the. I mean, lyrically, this is really bad.
[00:34:13] Speaker B: Even the stuff we listened to that I liked in here, they used things simmerless. But the song was better and the lyrics are a little bit better. This feels like we're following the leader, kind of. This is what everybody's doing. This is 85. Everyone's doing music like this. Does that make sense?
[00:34:25] Speaker C: Oh, yeah. Absolutely. It's formulaic.
[00:34:28] Speaker B: Oh, it's 100% stock. Yeah. Okay, here we go.
[00:34:37] Speaker A: She knows I want to try her out.
Wow. I don't plant a nuclear bomb Go to set the sun on fire now live it up, baby Throw your cares away don't care about the high price how much I gotta pay if she ain't looking for love anymore she better take me and when I put my mouth in the dough she's gonna feel me One for the money One for the road, baby Just give it to me, honey One for the money Give it to me, honey Sam.
[00:36:21] Speaker C: To their credit, I don't know if we specifically have mentioned this. They do tend to write different pieces when it comes to the solo part. They don't necessarily use the chorus or the verses. Right. They kind of throw in these other pieces. I've noticed. And we're saying that typically those Are the best part. I mean, I thought that was actually pretty good. I like that part. I thought it was pretty good. And honestly, the verse in the chorus didn't feel as janky to me as it did the first time. It flowed better this time. I mean, overall, is it great note. It's probably the second or third best song on the record so far. Lyrics notwithstanding, I like the middle part a lot.
[00:36:55] Speaker B: That first riff he plays, that first solo part, It's a. It's really stolen riff. I can't remember what it is. Right off the top of my head right now, I was like, wait a second. I know what that is. Which is totally fine. Obviously, Ace Frehley was a influence on him, and his playing reflects that in the stuff he does here. I like the middle part. I thought it was good, but, yeah, I mean, the song stock compared to some of the other songs, I think it's better.
[00:37:15] Speaker C: Yeah. There was nothing back to back on the first side. I mean, for what it's worth, this side is better than Other than that cover, which was fine. I think this side is better than the first, it seems.
[00:37:24] Speaker B: It's very rare, but it does happen once in a while. All right, let's run this out. Here we go.
[00:37:41] Speaker A: She's gonna blow my mind Ain't got a lot of visions Ain't got a lot to say I'm feeling like a shotgun gonna blow you away if she ain't looking for love anymore she'll ever take me t take me One for the money One rose, baby Just give it to me, honey One for the money wow. One for the money wow. Give it to your honey One for the money One for the money Honey wow.
Money.
[00:38:41] Speaker C: Hey, fine.
Can I take probably the second or third best song, Depending on how I rate the one on the first side? Yeah. Is it of the era? Yeah. Well, not. Not terrible. Did you run through all the lyrics?
[00:38:55] Speaker B: No, I'm going to read them right now. I forgot the second verse is. Come on, little lover she knows I want to try her out wow. Might have been a nuclear bomb Going to get this on fire now Live it up, baby Blow your cares away don't care about the high price how much I got to pay? Pre chorus, chorus, solo, Then right after solo. Well, I'm looking for a honey we're going to have a good time and the dirty, dirty little cherry bomb she's going to blow my mind and got a lot of patience and got a lot to say I'm feeling like a shotgun Going to blow you away which Is basically, I think the first verse repeated again and then the Vince Neil scream at the end.
All right, I'll go first. I mean, lyrics. What are we going to say here? I'm going to say three again. I could probably do two if I wanted to. Melody was okay for. I think the music was fine. I'm going to give the that a 6. Arrangement was fine. 5 and production is still a little janky, but I'm going to give it a five. It wasn't as bad as maybe some of the others were. So you're right. It's probably second or third best so far. What do you think?
[00:39:49] Speaker C: I'll say a two on the lyrics. I'll do that for you. I know you weren't sure, but I'm sure because we gave it three last time. I think these are actually worse. I think music. Music wasn't bad. I'll say five on the music or on the melody. I'll say a six on arrangement. I'll throw him a bone there too, because I do like that middle part. It fit. It was different. It fit and I really enjoyed it. That part. And I'll say a five on the production. Not terrible. I think if the album started out this way like you said, sometimes it happens, man. Especially I think a lot of times when we really haven't enjoyed the first side. The second side for albums come in stronger. So this is definitely shaping up to be better than the first set overall, I think.
[00:40:29] Speaker B: Yeah. If it continues this way, all the way through 100%, but we'll see, I guess. Okay, the next one is I'm the King.
[00:40:40] Speaker A: Sam.
I won't leave you any choice I won't give you any voice I'm gonna take this city for my own five horse oh, oh, oh I hear it on the radio I could leave a city Senior I'm thinkin bout it don't you know everybody needs to realize that I I want you, want you it's time for you to learn I'm the cave of the concrete jungle I'm the cave of the concrete jungle oh, I'm the cave of the concrete jungle I'm the k of the concrete jungle I.
[00:42:06] Speaker C: Won'T need no I like the way the song started and then it completely fell apart. I didn't like the verses. I didn't like whatever that pre chorus thing was. And the fact that they go back to that beginning riff and just say the same thing over and over. Once they change from that beginning to me, the song fell apart.
[00:42:22] Speaker B: That beginning part, you know what it feels like when we would ever fuck around and hey, let's play a metal song. That's what we would do.
Like we're going to stop. Boom, boom, boom. I was like, oh, boy. It's just funny again, it is the time. So this is not surprising what it would sound like. It's just not good as compared to other. As much as I don't like rat, generally, they're better than this. Quiet riot's better than this. This is just not good. And you're right, it started out okay and then it just devolved into the king of the concrete jungle. I just was. Oh, boy.
[00:42:51] Speaker C: I know. Why would you say that four times?
[00:42:53] Speaker B: I don't know. They could have changed it up.
[00:42:55] Speaker C: Let's do it twice.
[00:42:56] Speaker B: Yeah, I know.
[00:42:57] Speaker C: Yeah, exactly.
[00:42:57] Speaker B: Or change the words, change the line in between, and you can do it twice. Verse 1. I won't leave you any choice Won't give you any choice Voice I'm going to take the city by my own force that is really not good at all oh oh, oh I hear it on the radio that could mean the scene to send your ace oh oh, oh I think about it don't you know Everybody needs to realize that what I want want you is time for you to know that's the pre chorus and the chorus is I'm the king of the conquering jungle. Four times. His end lines are just bad. He doesn't know how to end lines. He messes the end part of the lines up all the time. Like, you know, if you're gonna do this and it's gonna be this cliche kind of stock, 80s metal, at least just rhyme every other line and just get it over with. It would be better. That's why it feels so discombobulated. And it feels like it's not written very well. And the melodies get all messed up. They make everything else very stock. And when it comes to the lyrics, like, he tries to be weird and change that last line, but it doesn't work.
[00:43:53] Speaker C: I mean, we've mentioned this before, obviously, as a songwriter, you could do it whatever you want, it's fine. But when you're following this formula of everything rhyming, if either the first two lines or every other line and then you kind of throw something in that does it. It just stands out so much.
[00:44:08] Speaker B: Yep. And that's the problem. Let's go.
[00:44:13] Speaker A: I won't leave no one alive I want you to survive it's only cause I want you for myself Set a head hey I give it to you every day I, I want you to see it in your face say hey, hey, hey Give it to you every day I'm too hot to find a cold up place and I want you, want you it's time for you to learn I'm the K of the concrete jungle I'm the K of the concrete jungle oh, I'm the K of the concrete jungle I'm the K of the concrete jungle.
[00:45:12] Speaker C: They've done that thing a few times, that weird fill thing. To me it's not smooth. I think what they're doing is cool because musician wise, again, I don't think they're bad musicians at all. I think they're actually pretty good for what it is. And I mean, we've heard other albums in this era where musicianship is. It's a lot more simple. It feels when they do stuff like that, you probably heard that kind of thing. It doesn't sound like they do it live. It sounds as if they added in later. And it's not cut in right. It's almost like a step behind or a step ahead. At least to me. It sounds odd.
[00:45:42] Speaker B: It's a weird thing. Yeah, I hear it too. I just think the whole melody is weird. Here is verse 2. I won't need no one alive if I want you to survive it's only because I want you for myself Said hey, hey, hey I'll give it to you every day I can really see us here in Debase. Said hey, hey, hey I'll give it to you every day I'm too hot to find a colder place Pre chorus.
And I want you, want you it's time for you to know and Concrete Jungle over and over. It's just very bad. Lyrics are bad. This might be worse lyrics than the last one. Possibly.
[00:46:14] Speaker C: Yeah, it's. It's.
[00:46:14] Speaker B: I'm.
[00:46:15] Speaker C: I'm debating.
[00:46:16] Speaker B: Or it's at least as bad. Tommy Thayer probably going to say the day. Here we go.
[00:46:28] Speaker A: Me of this concrete jungle.
[00:46:54] Speaker C: I don't understand.
When you're in these guitar driven bands, you have a chance to let loose and they just cut it off. To me, that sounded as if he still wanted to play. And the producer's like, no, no, stop, stop. Cut, cut. Come on, give me two more bars. No, no, sorry, Tommy. Cut.
And that's what it sounded like to me. Like it just ended abruptly and it.
[00:47:14] Speaker B: Was mixed so low. It was bad production. Could he barely even hear it. I mean, he was doing some interesting stuff, cool stuff. Like I said, very ace frail ish, which is fine. With me. I'm cool with that. I just don't know why. It was so low. You couldn't even hear it. They did a little different part in the middle, which I kind of like. There's only so much you can shine this up. It still could be better than this. All right, let's run it out. Here we go.
[00:47:51] Speaker A: I'm the.
I'm the cat I'm the ch.
I'm the cat I'm okay.
I'm a k.
I'm a chain of the star cream.
[00:48:13] Speaker C: He'S the king he's.
[00:48:14] Speaker B: The king he's the king of the concrete jungle I'm gonna make this easy 2 on lyrics, 3 on melody, 5 on music, 4 in arrangement and 4 on production. 4 on production. Main Mainly because the rest of production has been crappy the whole time. And this time I couldn't even hear the solo. It was so low. Mixed the production. Killing this thing even worse than it is. What do you think?
[00:48:32] Speaker C: I think I might just do the same. Ah, it. We'll do the same. Make it easy, like you said.
I think there's a better song in there. I don't think it was a terrible song. And again, I think this side is definitely better than the first one. Yeah, I felt like there was a. When the song started, I was kind of more excited. And then kind of, as it progressed, bit a little like. It's not terrible, just some weird parts.
[00:48:54] Speaker B: And it's starting to devolve again into crappier songs. It started off strong and now it's starting to fade out. And we're at the end. Thank God.
This is chains around heaven.
[00:49:29] Speaker A: You got your problems I got myself pulled up together we're going nowhere I'm going to pieces can't even get close Y' all looking for me Just like I was Echo now, if you know what I mean.
Or how does it outfit for anyone?
If I could just find the key to unoccuptoned surrounding all I'll say round him all Lock you away and keep me from you forever Terrible.
[00:50:28] Speaker C: It's not terrible. I was thinking in my head, if Dawkin did this song, they would probably do, like a kickass version. And the guitar sound and a little bit of that rift that Baron or N. It reminded me a little bit of Dire Straits for some reason.
It's not terrible. And the musicianship is not bad. I think I want to say the melody a lot of times is where this suffers. Honestly, I think his voice, he could probably sing better.
[00:50:55] Speaker B: He at least rhymed the Words this time, if you're going to do a very stock, typical mid-80s metal thing with the bass. Boom, boom, boom, boom. Or like you said, if dawkin did, it would be better. It's a little bit of darkness going on here. A little bit.
[00:51:07] Speaker C: Yeah, I can hear a little bit of that.
[00:51:09] Speaker B: But yeah, it's not great. The words are actually a little bit better. Verse 1. You got your problems and I got my share put them together and we're going to nowhere I'm going to pieces can't even get close you're looking through me just like I was a ghost pre chorus now, if you know what I mean her heart doesn't open for anyone if I could just find the key to unlock the chains that surround her love and I said chains chains around heaven lock you away they keep me from you forever A little bit better words. A little bit.
[00:51:38] Speaker C: Even though they sound like different concepts.
[00:51:41] Speaker B: Can't of everything you're getting rhyming at least. So come on, what do you want?
All right, here we go.
[00:51:51] Speaker A: But never a fool I never listen to y I can't find the answer I'll do what we should do your heart is a chains I don't have a clue now if you know what I mean perhaps an outfit for anyone prove I can just lovatitude to unlock the change and surround your lord I say change hands around heaven knock you away they keep me from you forever and I say chance around have I feel away they keep me from you forever forever wow.
[00:53:31] Speaker C: You know what I mean? The song kind of grew little bit more. It's one of the strongest one. Overall, that piece was cool. I like how they went into it. I like the solo. These metal pieces are definitely. Sure. We've said it for even the ones we didn't like. Definitely the standout parts.
[00:53:44] Speaker B: Solo was okay. I don't know. What was that drum part at the beginning? It sounded weird. Was that supposed to be a floor tom?
[00:53:49] Speaker C: I don't know what that was. It was some kind of effect.
[00:53:52] Speaker B: Yeah. I mean, if they just wanted it to be a floor tom, it didn't sound like a floor tom sound like. I didn't like the solo as much this time. It's okay. It's fine. I think he's done better stuff.
[00:54:00] Speaker C: Stuff on this album, but, I mean, so interesting. They do tend to do these separate pieces where they can just kind of keep going with the chorus melody or the verse melody and just solo over that. But they do tend to do something different whether you like it or not give them credit for that.
[00:54:16] Speaker B: I like the riff going into the solo. I thought that was pretty cool.
[00:54:19] Speaker C: Yep.
[00:54:20] Speaker B: Verse two. I'm just a loser but never a fool And I'll never listen to your stupid rules I can't find the answers to what we should do. Your heart is and chains I don't have a clue. Same pre chorus. Back to the chorus again. Chorus is not horrible. It's kind of grow on me a little bit. It is better than the prior song, though, I think.
[00:54:37] Speaker C: I just think overall, it's. This side is definitely better, for what it's worth, than the first side. I think that if they built off of this, then it would be a better record.
[00:54:48] Speaker B: All right, let's play it out. Here we go.
[00:54:57] Speaker A: Lock you away they keep me from you Forever.
And I say change around heaven Lock you away they keep me from you Forever.
Forever.
Oh.
[00:55:40] Speaker C: I think I would have liked, especially if they knew that this was going to be the last song. A little bit of where just everybody kind of goes off a little bit. Right? You know, like when those little. The drummer kind of does the things on the cymbals and then he does in the solo.
I think it would have had more impact than ending like that because it kind of felt like he was building up to that and it just. It didn't. Like they had a little bit of noise, but I just would have appreciated that better as. As a. As a closer. Not terrible. I don't think it was a bad way to end the side or the record.
[00:56:11] Speaker B: Yeah, it wasn't bad. I didn't hate the ending. Maybe they didn't know that was going to be the end song and they just sequenced that that way. Who knows? All right, you go first.
[00:56:17] Speaker C: You know, I'll say fives across. I don't think it's better than that. I don't think it's worse than that. I'll make it simple.
What do you think?
[00:56:24] Speaker B: I'll do the same thing. It's not horrible.
[00:56:25] Speaker C: I'd put it as a playlist. I put it on there.
[00:56:28] Speaker B: Yeah. I think the second side is much better than the first side, personally. Well, we want to hear what you guys think about this. Do you like it? Do not like it. Do you like side two better? And next week we'll get to spin again. Thank God. Hopefully we'll get something else. I never would listen to Black and Blue. My own. So this is a revelation for me. Even though I was a teenager during this time, I never listened to them. And for good reason. Probably Because I. Anything else I was listening to would be way better than this. So I probably wouldn't wasted my time. This is like C level hair metal, D level hair metal. I noticed one other thing before we finish his vocal styling. That's the thing of that time frame. The way he's singing is a very common way for a lot of the lower level hair metal bands that don't have a lot of personality in their vocal, they all sound that way. I don't know why I just noticed.
[00:57:09] Speaker C: That, honestly, he's kind of like a slightly better version of Steven Pearson.
Maybe it's singing, but it's kind of talk singing in a way. I think that when he wants to think he can. I think that if the melodies were a little bit better, it would have made for a better record because again, musician wise, it's not bad and I think there's decent riffs in there that maybe could have been fleshed out better. Part of me almost wants to go back and re listen to it to see if I would think the same criticism. But obviously when you hear a song and it hits you, it hits you. When it doesn't hit you, it doesn't hit. At least four songs on here could make a playlist. Would I listen to it all the time? Probably not. Did I like it better now maybe than the times I tried listening to it on probably? I'm glad we got something like this.
[00:57:54] Speaker B: All right, why don't you do your thing?
[00:57:56] Speaker C: We are part of the Deep Dive podcast network. Again, like I always say, great bunch of guys took us right in. If you want individual podcasts about bands, Van Halen, Judas Priest, Rush, Uriah Heap. Probably not black and blue, but almost every other thing you can think of, they're on there, so definitely check them out. Mark, where can they find us on the Interwebs?
[00:58:13] Speaker B: Rock with that pod on all the social media. Rocklaypodcast.com Leave us new bets. Put an album in the email if you want us to put on the list. If it's within the parameters of our rock, hard rock, heavy metal genre, put us on the auto download as I always say, and rate us 5 stars wherever you rate your podcast because it moves us up the ladder. Next week we get to spin again and that's cool. Hopefully we'll have Frank back. He didn't miss very much this time, but we'll have him weigh in when he comes next time to tell us what he thought about the second side. And I guess we'll see you next week.
[00:58:42] Speaker C: Ciao, ciao.
[00:58:43] Speaker B: Later.
[00:58:43] Speaker C: Her.
